Re: Quicky about naming a chord

"Hans Aberg" <haberg_20080313@[EMAIL PROTECTED]
> wrote in message 
news:frpevc$54o$1@[EMAIL PROTECTED]
> Tom K. wrote:
>
>>> Between what scales do you pivot? - It appears in harmonic minor.
>>
>>  The Bo7 would enharmonically function as viio7 in the keys of C, Eb,
> F#/Gb,
>> and A - both major and minor.
>
> If this is half-diminished, how do you get A in key Eb, and isn't it II
in 
> A minor?
>
The symbol o7 means a fully diminished 7th.  No one but you is talking
about 
half diminished 7ths.

> If sharps and flats do not agree, then F# and Gb are not possible in
exact 
> modulation, though it might be possible if you admit intonation 
> adjustments.

We're talking about 12 ET here, remember?   So F# and Gb sound the same.

>> The diminished viio7 has been used in major
>> as well as minor since the Baroque.
>
> I only discussed the dim7.

And the diminished viio7 is a (fully) dim. 7th.  It's only this post where

you introduce the idea of the half diminished 7th, whichsince it does not 
exhibit the complete intervallic symmetry of the (fully) dim. 7th, is 
another matter entirely.

>
> But you haven't shown how to pivot the dim7, only the 1/2 dim7.
>
Again (assuming 12 ET):

B (fully) dim. 7 functions as viio7 in the keys of C, Eb, F# or Gb, A
(major 
and minor)

Or to put it another way:
Bo7=Do7=Fo7=G#o7 and
Co7=D#o7=F#o7=Ao7 and
C#o7=Eo7=Go7=A#o7

As all 12 possible roots and key centers are covered, there are only 3 
possible o7 chords, each one having 4 normal resolutions.

Is it clear now, Hans?
Tom K.